ally defined as the inducing the supposition of some form of material which does not actually exist; as commonly in the painting of wood to represent marble, or in the painting of ornaments in deceptive relief, etc. But we must be careful to observe that the evil of them consists always in definitely attempted deception, and that it is a matter of some nicety to mark the point where deception begins or ends.
Thus, for instance, the roof of Milan Cathedral is seemingly covered with elaborate fan tracery, forcibly enough painted to enable it, in its dark and removed position, to deceive a careless observer. This is, of course, gross degradation; it destroys much of the dignity even of the rest of the building, and is in the very strongest terms to be reprehended.
The roof of the Sistine Chapel has much architectural design in grisaille mingled with the figures of its frescoes; and the effect is increase of dignity.
In what lies the distinctive character?
In two points, principally: The first, that the architecture is so closely associated with the figures, and has so grand fellowship with them in its forms and cast shadows, that both are at once felt to be of a piece; and as the figures must necessarily be painted, the architectural is known to be so too. There is thus no deception.
The second, that so great a painter as Michael Angelo would always stop short, in such minor parts of his design, of the degree of vulgar force which would be necessary to induce the supposition of their reality; and, strangely as it may sound, would never paint badly enough to deceive.
But though right and wrong are thus found broadly opposed in works severally so mean and so mighty as the roof of Milan and that of the Sistine, there are works neither so great nor so mean, in which the limits of right are vaguely defined, and will need some care to determine; care only, however, to apply accurately
